Kelly Bedard

Time after time, I seem to land on the opposing point of view when it comes to the latest COC production. I never could wrap my head around the critical apathy towards my favourite show to date- Verdi’s Masked Ball– nor could I see the reported genius of so many pieces I found deathly boring. […]

  Kelly Bedard

Warning: Extreme negativity ahead. Why don’t you read Rachael’s piece about all the Friends Thanksgiving episodes instead? Tapestry Briefs: Booster Shots (Tapestry) Conceptually, this evening of short opera scenes tied together with corresponding shots of curated liquors was a brilliant idea. How do you battle every simplistic but not altogether unfounded accusation of “long, boring, old, […]

  Brian Balduzzi

Boston Opera Collaborative expands its repertoire by performing Benjamin Britten’s rarely-performed three-act opera Albert Herring at Dorchester’s Strand Theatre as a part of the Free for All Concert Fund. Directed and orchestrated by 2013 My Theatre (Boston) Award-winning Stage Director Katherine Carter, and Music Director and Conductor Andrew Altenbach, the accessible production is a treat […]

  Kelly Bedard

Two strong but ultimately uninspiring productions are currently playing at the Four Seasons Centre as the kick off to the Canadian Opera Company’s 2014/15 season. Though they’re of comparable overall quality, Falstaff and Madama Butterfly have little in common. The former is visually grand with lots of awkwardly long breaks to change the elaborate sets […]

  Brian Balduzzi

Don Giovanni is one of Wolfgang Amadeus Mozart’s most famous operas, spurring countless productions and re-imaginings in modern culture. Boston University College of Fine Arts’ School of Music Opera Institute and School of Theatre presented their own clever twist, thanks to the inspiring direction of Stage Director Daniel Pelzig and Conductor William Lumpkin. While the […]

  Rick Chason

Odyssey Opera is coming just in time. Three years ago, there were two regional-theater-sized opera companies in town, the Boston Lyric Opera (the “BLO”), which tends to stage standard classics of the opera repertoire; and Opera Boston, which specialized in infrequently-heard, along with new and experimental works. Opera Boston’s controversial and surprise closing in 2011 […]

  Brian Boruta

Upon arriving at the Zack Box Theatre at The Boston Conservatory, we were told that the house would not be opening until about 5 minutes prior to the performance time. When the doors finally did open, we were asked to remove our shoes, place them on a shoe rack, and only then enter the performance […]

It’s with Jules Massenet’s gorgeous setting of the classic story of an “errant knight” that The Canadian Opera Company closes out a truly exemplary season. This was the season when I finally learned to love The COC, when I finally felt like I had a favourite opera composer (Donizetti) and a favourite soprano (Adrianne Pieczonka), […]

Out from the looming shadow of Peter Sellars’ agonizing Hercules, The Canadian Opera Company is crawling back to the light as they close in on the end of their generally strong 2013/14 season. Said light is shone by thoughtful director Stephen Lawless onto Donizetti’s emotionally mature and structurally sound opera about the great and confounding […]

  Brian Balduzzi

On a Saturday night, I had the pleasure to see MetroWest Opera’s production of Humperdinck’s Hansel and Gretel. Why do I say that I had the pleasure? Because it was good. Like sickeningly sweet with gumdrops good. MetroWest Opera was founded in 2007, and it has produced at least one opera every year since then; […]

  Kelly Bedard

As you likely already know (because we talk about it All The Time), earlier this month we hosted Toronto’s inaugural My Theatre Awards ceremony. The awards have been around since 2010, but this was the first party. Because it was the first party, it took a ton of planning. In the process of all said […]

  Brian Balduzzi

Benjamin Britten’s Rape of Lucretia is a simple story of morality and virtue that is drawn out to epic proportions. While The Boston Conservatory performs each role with gusto, the opera seemed tired, expiring long before the final note. With such high quality at the school, I suspect the source material is to blame with […]

  Brian Balduzzi

Last week, the Lowell House Opera presented the rarely-performed (and perhaps it should stay that way) opera Lakmé by Léo Delibes, directed by Roxanna Myhrym and music directed by Lidiya Yankovskaya. The Lowell House Opera bills itself as the longest continually performing opera company in New England. The opera is rough around the edges, despite […]

  Rick Chason

Opera and subtlety don’t often go well together. Opera comes from the greatest possible highs and lows of the human experience, from the glorious pain of love, murder, and suicide. So, it is stunning to see a new production of Verdi’s Rigoletto full of subtle nuance in its direction and acting, bringing out its grandiose […]

  Brian Balduzzi

Florencia en el Amazonas is a relatively unknown opera; it’s modern, it’s Spanish, it’s artsy. However, the Boston University College of Fine Arts School of Music Opera Institute and School of Theatre (wow, that’s a mouthful!) show that the production is reminiscent and in every way equal to the classics from which composer Daniel Catán […]

  Brian Balduzzi

So, I’ve quickly become a neophyte opera fan. I’m seeking out such productions all over Boston, and, in my quest, I found the New England Conservatory. Easily one of the most talented training schools in Boston, the Conservatory boasts a rich reputation for outstanding faculty and performers. I was mostly not disappointed when I tasted […]

  Elizabeth Ramirez

I have been lucky enough to sporadically attend the opera since age 15. Some combination of school and interest in music made me gravitate toward such opportunities. And as much as I would love to say that I instantly fell in love with the genre, it took a while to build up my stamina for […]

  Kelly Bedard

The Canadian Opera Company’s current repertory program is one of its most delightful ever, beginning with Mozart’s fairly harmless Cosi fan tutte and raised to wonderful heights by Verdi’s magnificent Masked Ball. I don’t plan on wasting much time talking about Cosi since, at 3 hours and 30 minutes, it’s already taken far more than it […]